Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.
The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).
The title music sets the tone: a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.
The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.
Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.
Roger Philip Mellor
比《鹿角》更加装逼的恐怖片出现了。前边拍了一大堆就完全没有组合起来好么，后头玩得那些花招交叉剪辑、近乎匹配的剪辑、分屏（也是我看过最差的分屏）等都不过是在把这本就是浆糊的东西调得更浓稠了，干瘪无力的作品就总是如此。最无语最偷懒的就是那些情色场面的置入——根本不用再想，放进来凑过时间就完事。感觉A24是真的有慧眼的，总是能够发掘出这些喜欢装逼的货。
《大型公益片之关注老年人性需求》！老太太是米娅高斯演的！听说还有Pearl的前传，可以期待下.68/100
情色、恐怖、暴力等元素的杂糅。可以两倍速观看。
“应该是他妈的恐怖片吧”哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈哈
ps：老年人的性爱是真的恐怖！
thriller的画面过于刺激 拍床戏清新特俗看笑了我 中间插的两段音乐 简直是神来之笔 弹吉他围在一起聊天说当有摄像机开启时就不算出轨 镜头以外的床戏只属于老年人
A24在反类型的大道上继续驰骋。
前半拍片部分比后面的猎杀要好，前后完全2部电影，通过一个神经病生硬的联系起来
为什么我记得我想看这个电影的时候，评分是7点多！！看完发现它才5分！
诡异感十足，反高潮熟稔，致敬处遍地，交叉蒙太奇过瘾，自嘲解构拉满娱乐性，虽然第三幕破功了，但你还是可以相信A24！
一句话影评:千万别惹性饥渴的老妇人！
血腥、性、血浆、暴力、愤怒、嫉妒、懵懂。年轻的时候就要疯狂做哎，不然到老了就后悔去吧！垂死的老太婆和老太公因为得不到性快感而杀掉来他们家拍A片的年轻人（没错故事就这么简单）。太好看了！一枪爆头、推下湖泊被鳄鱼吃掉、砍手指，最后老太公操老太婆，幸存的女孩躲在床底，太好笑了哈哈哈哈戏剧死了！！！let fuck every day and night!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
节奏:★
片子告诉我们 各位说自己已经XX岁了/身体不行了/等的男性多一些取悦精神
1.女主老熟人了，但是看到她一人分饰两角还是有被惊到！2.看的过程总是害怕老太太突然变脸or大笑，或者是搞贴脸杀之类的，结果竟然都没有……她还跳了一段舞！她还和老头子啪啪啪！她低声下气求欢，对肉体衰老无奈，看到这里我确信这是一部不一般的恐怖片，顿时肃然起敬3.此主题太过现实向，作为恐怖片有点萎
3.5 最後20分鐘 such fun！收穫了真。嚇死和被自己開槍的後座力轟倒的奇思妙想 剪輯挺有意思 嚇人也有很認真在嚇 雖然嚇人的位對於看比較多電影的人來講不算突如其來 但效果已經夠好了 “I'd say one goddamn fucked up horror picture. ” lol 有笑到
A24出品，血浆片爱好者怪才导演缇·威斯特执导，《X》融合了个性与反叛，角色在与刻板印象对抗的同时，又迫不得已接受了身处恐怖片的命运，这便是那个时代下追逐美国梦的夸张描绘。
复古风格浓厚，甚至和当年的血腥B片媲美，这么傻的剧情也真是烂大街，没有丝毫看点，结尾女二跑出门的时候笑死
finally出现了老年人需求，和老去的恐惧源头其实差不多，但这种方式就很小成本+娱乐化。
稍微电影手法与拍摄技术有那么一点不尽如人意。剩下的无论是构思、恐怖还是血腥感，都是很棒的。磨坊电影就是这样的，我仿佛看到了罗伯特·罗德里格兹与昆汀·塔伦蒂诺的感觉。毕竟人家是A24出品，恐怖大厂，不好瞎说话！
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